Grand Slam

The video-performance 'Grand Slam' shows in slow motion a woman in a tennis skirt as she practices hitting a tennis ball against a blank wall. As the ball strikes the wall with increasing intensity, it begins to leave thick black marks on the wall, as if the ball has been drenched in paint. There are close ups of the woman’s thighs, her mouth, her hair, the side of her face as she repeatedly beleaguers the ball with her racket. Everything about this work is aggressive. The deep resonance of the ball hitting the wall. The woman, racquet in hand, forcefully swinging at a tennis ball. The black splotches on the wall, remnants of where the ball has left its mark. Throughout the piece the main character, who is also the artist, looks increasingly weary. Perhaps worn down by her struggle to return the ball to the wall again and again. Marcin is admittedly inclined towards feminist theory and practices, while striving to create a new context for the feminist conversation. In her untitled performance piece, she seems to ask her audience to identify the struggle present in the piece and beyond. From a cultural perspective the piece seems to mimic other public conversations that at the very least women are having nationally. Marcin doesn’t exactly answer the question, but the piece suggests that maybe the struggle is more internal than external.


'Elephant in the room' is an English idiom for an obvious truth that is being ignored or goes unaddressed. In Marcin's 'Elephant' the protagonist, a young female, is walking through the sunny summer forest, high-heeled in an airy dress. Suddenly she starts to gunshot in different directions. As the shot resounds, her chest is hit and bloods runs onto the dress. She continues her walk in a silent, conscious manner until she finds a bambi on a clearance. The representation of the female body as a prime target stands in contradiction with the fact that the woman is shooting herself. In the end the woman finds herself mirrored in the external element of a bambi, a large creature laying on the ground. Marcin points in a silent way on the ambiguity of education, self-definition and vulnerability. A sad undertone accompanies the absurd and humorous story.

Are you lonesome tonight?

In "Are you lonesome tonight?" are five monitors placed inside five grooves of a stage like sculpture in the colors of the American flag. On top of a stage is an aluminum pole that holds a super-sized microphone with the colors of the German flag. On each of the five monitors another woman with blonde wig is performing “Are you lonesome tonight?" by Elvis that has been replaced with new lyrics: 'Are you fearful tonight, Do you worship tonight? Are you sorry you dont share a bond? Does your image stray to a bright summer day (…)' The stage is empty and seems like an invitation to be performed on and thereby become part of the opera like choir. The effort and the theatricality of the karaoke like act reflect on the mode of self-dramatization in American culture. Through the overlapping of the choir, the self- accusations of the text are driven into the absurd. The inherent quality of Entertainment such as self- selling and self- deception reveals itself as a search for identity.


The video is looped on a 15'' monitor inside of a cardboard box with a peephole for viewing. In the centre of the video image, a young woman is bird like sitting on a stake. A feeling of constriction creeps it. The blackness presses in on the woman in her exposed position and contrasts sharply with the warm tones of her clothing. The empty, dissatisfied-looking expression on her face reinforces the impression of isolation and loneliness. Abruptly, the woman opens her mouth, but instead of a human voice, there unexpectedly emerges only a short, melodic warbling. The woman’s warble is at once bewildering, comical, shocking and surreal. Sissi in her imaginary cage leaves behind an uneasy feeling of amusement.

Alta Ego

In 'Alta Ego' two sequences in circles with 180° degree difference in perspective are being contrasted. In the close up of the left circle there are almost only the eyes in sight, looking downward as if starring on the secondary perspective. In the right lower circle there is a small figure dancing naked to percussion in a wild, excessive ecstasy. The close up personae is barking with angriness at the dancer and loses increasingly energy. In the end of the more and more excited dance, the barker will capitulate in sadness. The video refers to an inner twist, as if lust and drive start to compete with the mind's decisions. (Georg Elben, Jumpnights, Museum Ludwig, Cologne)

Cat and bear

The video is looped on a 17" monitor inside of a wooden house with a window. In this small wooden house 'Cat and Bear' are living. They can be observed while enacting their daily business as eating, discussing, dancing and making love. The small house, they are caught in, serves as a metaphor for our own limitations and boundaries. While the observer looks down on the entertaining and small creatures, he puts himself in a superior position, meanwhile our life is mirrowed in its relativity.

Losing Virginity

In "Losing Virginity" the contradiction between demand, defense, desire and aversion accompanies the feeling of human discord between impulse, emotion and control. Consisting of three main clips, the first one gives view on two humans in sexual act - filmed from the bird perspective, covered by a linen, they move mechanically up and down. In the other clip a woman innocently stars into the camera while stating the sentence: "Do you want to marry me?". Meanwhile she presses her breasts towards her face and a yellow cream comes to of her bra. In the third clip the same young woman is licking pudding from a bowl in a cat like manner, sitting nude on all four. While the performance questions the innocence juxtaposed with sexual actions, the viewer is placed as an observer into a voyeuristische, homogenous setup - loosing innocence at the same time.